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  Chagall

  Victoria Charles

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  Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. 
      At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.

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  The Beara & Sheep's Head Peninsulas

  Adrian Hendroff

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  The Beara and Sheep's Head Peninsulas, in the southwest of Ireland, are both unspoilt and hold some of Ireland's most beautiful scenery. These routes range from short hikes to longer treks, coastal and inland, something to suit everyone's interest. Stroll the woodland and mountain trails of Gougane Barra or take on Hungry Hill for a more challenging hillwalk, with lots more in between. There is no better way to explore this landscape than on foot. * For a complete list of walking guides available from The Collins Press, see www.collinspress.ie

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  Retire Experience - Run Away...

  Constant Bennett

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  Retire Experience - explore the world from the comfort of your home! 
  Are you looking for: 
  Live the retirement without boredom? 
  A fun way to travel?  
  A modern nomad who hates being pinned to the same place for years?  
  A minimalist, frugal lifestyle, but don’t know where to start? 
  Then, RVing is for you! 
  Retire Experience - is buying or renting a recreational vehicle (basically, a home on wheels) and traveling wherever your heart desires! You can explore the country while you’re relocating to a new job, have an amazing holiday trip, or sell your home and become a full-time nomad with minimal expenses. You literally explore the continent from the comfort of your own home, because the home travels with you. 
  Besides, full-time RVing forces you to downsize your possessions, get rid of all that clutter, and finally lead the frugal and minimalist life that’s the most fulfilling. Your stuff no longer holds you down! 
  Does any of this sound exciting? Then, you should definitely try Retire Experience!  
  But how will you really start to live your retired experience? 
  Is RVing safe? What is boondocking? This book provides all the answers! 
  Here’s what you’ll learn: 
  The greatest myth about RVing  
  Insider tips on planning a safe and comfortable RV trip, even with a baby on board 
  The secret art of staying in shape while RVing 
  Ways to RV safely and deal with potential intruders (you must know this to avoid serious trouble) 
  And much, much more! 
  Still hesitating if Retire Experience is something for you?  
  You’ll never know until you try!  
  Rent an RV for a weekend, take your loved ones with you and go on a short adventure. But don’t forget to buy the audiobook beforehand if you want a safe and fun trip! 
  Ready for the greatest adventure of your life? 
  Do you know what separates you from your Retired Experience ...?! Just and only one click!

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  All Creatures - Life Lessons...

  Elizabeth Simmons

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  Is it possible to learn valuable lessons about faith, family, and friendship through daily interactions with animals?   Sharing life with a pet of any kind can have such a profound effect on your worldview, both globally and personally. Because there is so much to learn during our brief stint on this earth, we are best served when we allow ourselves to be schooled by even the unlikeliest of professors.   If you have ever known the unconditional love of an animal, you will undoubtedly relate to the experiences recounted in All Creatures. Within these pages you will find a variety of stories that are sure to bring tears of both sorrow and joy.   “What if our relationship with God was such that we experienced an ache inside, a true yearning to be with him? What if we couldn’t wait for the next time we would get to share a moment with him? I don’t know about you, but I want my desire for communion with my Father to become an unquenchable thirst. I want to long for it with breathlessly intense eagerness, just as the dogs pant for bowls of cool water after a long day in the heat of a summer sun. I want to be refreshed, not by what the world has to offer, but by what God alone can give.” —from All Creatures

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  God is Like a Box of Crayons -...

  Chris Stanley

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  Without light, there is no color. 
  An object appears colored because of the way it interacts with light. The color itself comes from the light. The blue crayon is only blue because of the amount of light that is present, absorbed, and reflected off the crayon. 
  Matthew 24 says "Here’s another way to put it: You’re here to be light, bringing out the God-colors in the world." 
  We are God’s crayons! He wants us to color this world by shining light on every part. 
  Our mission is to color the entire world. 
  In this book, we’ll explore how God is like a box of crayons by looking at the colors that are inside of the box. 
  I am excited to color this world with you through this 30-day devotional. God is light, He is color, God is Like a Box of Crayons. 
  Includes 31 downloadable devotional adult coloring pages for you to print off.

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  Cézanne

  Nathalia Brodskaya

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  Since his death 100 years ago, Cézanne has become the most famous painter of the nineteenth century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in company with Emile Zolá, another Italian. Following Zolá’s example, Cézanne went to Paris in his twenty-first year. 
      During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer, “I’m only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for.” Encouraged by Renoir, one of the first to appreciate him, he exhibited with the impressionists in 1874 and in 1877. He was received with derision, which deeply hurt him.
       Cézanne’s ambition, in his own words, was “to make out of Impressionism something as solid and durable as the paintings of the museums.” His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form.
       Cézanne loved to paint fruit because it afforded him obedient models and he was a slow worker. He did not intend to simply copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort.
      The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix.
       At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old linen, produced from barns a considerable number of still-lifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain.

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